how essential is learning creative writing as a future teacher

Creativity and Innovation in the Writing Classroom

Learn more about how to teach creativity and innovation along with, and as an important part of, traditional writing and research skills.

“You can’t use up creativity. The more you use, the more you have.” —Maya Angelou

Creativity is fundamental to the teaching of writing. Although WR 153 focuses specifically on creativity and innovation, all WR courses ask students to approach their reading, viewing, writing, and research in creative ways. One important approach to creativity is “design thinking,” which emphasizes that creativity is a non-linear, iterative process. Design thinking is based on two foundational assumptions:

Everyone can be creative.
Creativity can be taught.

The principles of design thinking can be used in any WR course to teach students that creativity is a process of asking questions, using multiple strategies and approaches in answering those questions, taking risks in conceiving and executing original work, developing and refining ideas in response to feedback, and learning from productive failure. The metacognitive aspects of design thinking invite students to think about their own creative processes and identify factors that promote creativity.

Although WR 153 is structured by the steps of the design process (understand, empathize, define, ideate, prototype, test, assess/reflect), all WR courses can benefit from incorporating elements of design thinking and an emphasis on creativity and innovation. Approaching writing instruction in this way can:

Increase student engagement by focusing on creative responses to problems that students care about;
Give students a sense of agency as a result of greater choice in what to write and how to write about it;
Encourage taking intellectual risks and reward productive failure as a means of learning;
Help students develop skills that are transferrable to other academic situations and their professional lives; and
Enhance students’ personal lives by allowing them to learn about themselves and their own creative potential.

Principles of Design Thinking

Design thinking is a non-linear, iterative approach to creativity that involves between three and seven steps. Although it is based on theories of design practice that go back to the early twentieth century, it has most recently been popularized by the design firm IDEO and the Hasso Plattner Institute of Design at Stanford, commonly known as the d.school. The process involves understanding the issues involved in a design project, empathizing with the audience for an end product, defining the scope of the project, generating ideas for and creating prototypes of the product, testing and assessing those ideas and prototypes, and revisiting the steps of the design process until a final product is created.

The complete set of seven steps can be applied to the writing process in a WR course:

Understand: Students develop a foundation for their work by exploring issues and approaches relevant to the course topic, as well as previous work in the field.

Empathize: Students practice empathy by demonstrating their awareness and understanding of the audience for whom they write or create.

Define: Based on their observations and insights, students articulate a problem or question that will motivate their work over the course of the semester.

Ideate: Students generate new ideas and possible solutions by challenging assumptions and engaging in a variety of creative activities.

Prototype: Students start to create solutions and implement their ideas into written, digital or other forms in order to capture ideas, but also redefine choices.

Test: Students share drafts with others in order to gain feedback and insight into improving final versions.

Assess/Reflect: Students reflect on and evaluate their peers’ and their own processes and final outcomes.

The steps of the design thinking process are not meant to be followed in a rigid way. They should be flexible and customizable to the particular project: students may need to define, ideate, and prototype multiple times and in various modes/genres before they are ready to create a final draft. The skills students gain in going though these steps should be transferrable to other projects and courses.

Learn more about design thinking:

“What is Design Thinking and Why Is It So Popular?” by Rikke Friis Dam and Teo Yu Siang provides an overview of design thinking.
David Kelly of IDEO explains the history of design thinking in “How to Design Breakthrough Inventions,” an interview with 60 Minutes .
“How to Solve Problems Like a Designer,” which includes an interview with Tim Brown of IDEO, explains the basic principles of design thinking.

Understand and Empathize

The first step of the design process asks students to understand not only the course material, but also the resources necessary for their particular project. Since this usually involves additional reading/viewing, the “understand” step is part of the research and information literacy component of WR15X. Assignments that focus on this step may include conducting library or online research, categorizing research material using BEAM/BEAT, and creating annotated bibliographies.

Define, Ideate, and Prototype

Before they begin the process of generating ideas, it is often useful for students to define, at least in a preliminary way, what question or problem their paper/project is addressing. Assignments that help students define their projects may include questionnaires that ask students to state what they intend to work on and why, as well as more formal paper/project proposals.

In the IDEO design process, the goal of ideation is to generate a multitude of ideas without rejecting those that may seem impractical or even silly. Ideas can be rejected later, after a sufficient number of ideas have been generated. The most common ideation assignment involves various forms of brainstorming, often in teams. Ideas should be written down in some way, such as on sticky notes or index cards. To encourage divergent thinking in the brainstorming process, consider posting some fundamental principles in the classroom, such as these from IDEO:

Defer judgment.
Encourage wild ideas.
Stay focused on the topic.
Build on the ideas of others .

In the IDEO design process, prototypes are models that can be easily revised and even discarded if necessary. Prototypes for writing courses might include outlines, storyboards, slide decks, oral or video presentations, and preliminary drafts. Prototypes should be tested and assessed in some way that allows for reconsideration and revision before students turn in their final products.

Learn more about brainstorming and prototyping:

“What is Brainstorming?” by Rikke Friis Dam and Teo Yu Siang provides helpful information and ideas for the ideation step of the design process.
This example of “Brainstorming at IDEO” shows one popular way of brainstorming with sticky notes.

Test and Assess/Reflect

The final steps of the design process, testing and assessing/reflecting, are not meant to be the final steps in completing a student’s paper/project. After testing and assessing a prototype, students will likely need to reconsider and revise their papers/projects, which will take them back to earlier steps—they may need to conduct further research, generate additional ideas, or refine their prototypes. The design process is meant to be iterative, with students returning to steps in the process as needed until they have completed a final draft.

Just as designers test their prototypes, students should test drafts of their papers/projects by sharing them with others. Assignments that focus on this step usually involve workshopping with one or more peers, but testing may also include making an oral or video presentation to the class, meeting with the professor or a writing tutor, or sharing the student’s work with any other reader/viewer capable of providing feedback. Students may also test their papers/projects using techniques such as reverse outlining to assess the strength and clarity of their arguments.

The final step in the design process, assessing the student’s work, may lead back to any earlier step as students come to understand what they still need to work on to complete their papers/projects. This step may also involve the broader metacognitive task of reflecting on the student’s creative process. Assignments that focus on this step may include a variety of reflective exercises, including a final reflection for the course.

A Note on Assessment

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” —Samuel Beckett

Because WR 153 courses can include such a wide range of papers and project, contract grading is recommended. Other WR courses that incorporate creativity and innovation may also wish to use contract grading, either for specific assignments or the course as a whole. More information on contract grading can be found here .

An important component of creativity and innovation is productive failure. We learn to create new things or develop new skills by failing and trying again until we succeed. Productive failure is failure that leads to new knowledge, insight, or innovation. Courses that focus on creativity can encourage productive failure by requiring prototypes that will be reconsidered and revised extensively, asking students to share examples of failure as valuable learning experiences, and assigning reflective work on how students have grown through failure over the course of the semester.

Learn more about productive failure:

Both readings below argue for the importance of productive failure. The Burger article contains specific examples of how to validate and reward productive failure in the classroom.

“Next Time, Fail Better” by Paula M. Krebs, The Chronicle of Higher Education , May 11, 2012.

Why Teach Creative Writing? Part 1

October 5, 2017 By Lyn Fairchild Hawks Leave a Comment

This post provides a rationale for teaching creative writing often. It’s part of a larger series on integrating creative writing in your curriculum.

“Design. Story. Symphony. Empathy. Play. Meaning. These six senses increasingly will guide our lives and shape our world.” ― Daniel H. Pink, A Whole New Mind: Why Right-Brainers Will Rule the Future

Give Them a Voice

Me and Mrs. D. She let me draw, too–a set for my play.

When my seventh grade teacher said, “Yes, Lyn, we can perform the play you just wrote about time travel!” I was one ecstatic kid. The play I’d spent so many hours writing–she thought it deserved an audience! Mrs. Dunckel, my beloved English and Social Studies teacher, said yes to my creativity, risk taking, and passion that till then, lived hidden and parallel to school, despite being inspired by the history textbook.

Today as I write my young adult novels, I play with character, plot, point of view, setting, and style–and then worry obsessively about whether my work makes people want to turn the page. When I write professionally for Duke TIP, I think about voice, purpose, angle, and organization, what I consider the nonfiction twins of creative writing tools. Then I worry obsessing about whether I’m crafting a narrative easily read by the busy online educator. (Are you still reading?)

What’s your rationale for teaching creative writing? How often do you teach it, and why?

Share with us below , all i really need to know, i learned from creative writing….

Natural-born storytellers shouldn’t be stymied when the pen hits the page, but some of our most gifted writers, cultural icons, even, complain of being stifled in English class. There’s the famous story of S.E. Hinton, 17 year-old author of The Outsiders , who earned a B while changing the face of children’s literature (some credit her with “starting” the YA genre). Why wasn’t her “ burning desire to tell another story, one she observed daily at school — the hostilities among her peers, divided by social class ” enough to get the A?

It’s likely there was little space for her stories. Mrs. Dunckel gave me that space.

Best of Both Worlds

Why, then, doesn’t our writing curriculum root heavily in the art of the personal narrative while we attempt to analyze someone else’s? Why aren’t students writing more short stories and novels and screenplays of every genre? Standards and tests, sure–everyone’s confined by those. But what if…(the beautiful question fueling every speculative fiction piece)..what if we could make it all work together? What if personal narrative and fiction writing were part of every week of the curriculum? What might the world have already seen from Angie Thomas, 29 year-old author of the current New York Times YA bestseller, The Hate U Give , had she been able to start the story, right as she was living it, at age 16 in her classroom?

“Folks, set your watches for ancient Egypt! Next, ancient Rome!” I and my classmates who played historical figures and time travelers featured in my play, getting ourselves into high jinks happening across time–trust it was much harder to forget those facts of history. When creativity meets lists of facts, stuff sticks.

This idea of blending creative work with content and skill standards is nothing new in the realm of education: trail blazers have set us afire with brilliant ideas for many decades, such as Nancie Atwell , whose writing workshop method allows students mine the richness of their lives for daily work on personal stories and nonfiction pieces. There are programs such as Phillips Exeter where students focus writing practice intensively in 9th and 10th grades as they craft the personal narrative.

Beginning with a person’s deep and innate interest–the self–we can train students to create believable characters, compelling plots, and vivid settings, all the while turning to mentor texts as great examples of “how to.”

It’s not only standards-based learning. It’s a design for learning that allows time for direct instruction, group instruction, independent work, and group sharing.

Habits of Mind Creative Writing Creates

The world’s problems have historically been solved by the most fluent and flexible of thinkers. So imagining new ways in and out of trouble–which is essentially all authors do, torture their characters!–is great practice for just about all disciplines. Fluency is a generative aspect of creativity, the ability to produce many ideas in response to open-ended problems, while flexibility is the talent for seeing a problem from many perspectives, trying many different approaches, and categorizing ideas in a variety of ways. Society’s greatest innovators aren’t afraid of thought experiments and discarding ideas that don’t work, so writing prompts that encourage fluency, flexibility, and revision are key.

The Big Questions

Here are some of the high level essential understandings and questions that students derive and explore–along with their own epiphanies–when we let creative writing unfurl in your classroom. There are far more, but let’s look at just a few. These understandings try to cultivate flexibility, fluency, and risk taking. These are excerpted from Duke TIP’s Creative Writing: Adventures Through Time .

Essential Understandings: Students will understand:

Authors have a range of characterization options to explore when developing a fictional personality.
Authors balance several variables during character development, including traits and motivations.
Professional authors are good observers and listeners.

Essential Questions: Students will explore:

How do the Six Threads of Characterization intersect with character traits to establish clear character motivations?
What traits should I develop in my characters?
Do I want to research a particular back story or setting related to a certain character?

For tips on how to integrate your “regular” curriculum with regular creative writing experiences, check out Why Creative Writing, Part 2 .

Want a lesson plan for kicking off a creative writing unit with a preassessment? Head here to Lesson Blueprints.

Maybe a Unit?

If your school or district or state is not keen on this type of curriculum, you may be able to teach as a short unit or integrate piecemeal elements of Duke TIP’s Creative Writing: Adventures Through Time , a curriculum that can be a few days’, weeks’, or months’ worth of materials for gifted elementary and middle school students. And guess what–kids get to travel to ancient Egypt and Rome in this one, too!

About Lyn Fairchild Hawks

Lyn Fairchild Hawks currently serves as Director for Curriculum and Instruction for Duke TIP’s distance learning programs, where she supervises teachers and designs curricula and online student benefits. A long-time teacher, Lyn has published curricula with TIP, NCTE, Chicago Review Press, and ASCD. She is author of Teaching Julius Caesar: A Differentiated Approach and coauthor of Teaching Romeo and Juliet: A Differentiated Approach and The Compassionate Classroom: Lessons that Nurture Wisdom and Empathy . She is also an author of the young-adult novel, How Wendy Redbird Dancing Survived the Dark Ages of Nought , for high school students, and coauthor of the graphic novella, Minerda , for middle grade students. She is represented by Tara Gelsomino of One Track Literary Agency.

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Think It, Write It: Creative Writing Across the Curriculum

Explore strategies and tools that students can use to write creatively across the curriculum.

The internet has been the most significant amplification of the written word since the Gutenberg printing press. It has introduced us to websites, blogs, social media posts, email, and so much more. In many ways, people write more today than ever before, and modern writers have an unmatched opportunity to share their thoughts with an extensive audience—essentially anyone with a computer and internet connection.

This writing revolution has opened up almost endless opportunities for our students to express themselves through the written word. Of course, this doesn’t mean they need to be limited to text alone. Writing can be shared in many formats and is often mashed up with other forms of media, like images, video, and audio recordings.

It’s tempting to think that academic writing is the responsibility of language arts teachers, but writing is an essential skill for our students all across the curriculum. Writing in subject areas other than language arts provides students with an authentic context for their writing, and it forces them to think more deeply about the subject matter being studied.

Writing is one of the most cognitively complex tasks that we can ask our students to perform. It can and should be done in every subject area. Writing boosts critical thinking and requires the mental organization of new learning. In turn, it increases retention while deepening the understanding of that new learning. Writing can also be leveraged to have students dive deeper into the metacognitive aspect of the learning process. This type of writing can help students better understand their thought processes while identifying how they learn best.

No matter the context or subject area, writing can help develop critical communication skills, and when shared with authentic audiences beyond the teacher, it can increase motivation and relevance for the student. In many ways, writing across the curriculum is a win–win dynamic. Students gain a deeper understanding of their content and learning process while they simultaneously develop the writing skills that will benefit them throughout their lives.

In this article, we’ll explore seven different digital formats that can be integrated across all subject areas. Within each of those formats, we’ll share writing tools and strategies that you can use to get students writing in your classroom.

7 Digital Formats to Get Students Writing

There will probably be times when you determine the writing format for your students, and there will also be times when it’s better for your students to choose their own format. Whenever it makes academic sense, consider allowing your students to choose the format. This will increase their interest and motivation in the writing project. This often keeps them more engaged and results in a better final product. While we will not list every writing platform available to you in the classroom, the following list will highlight seven top choices to get you started.

In this familiar format, students use a word processing program, like Microsoft Word or Google Docs, to write something. Here, the message and writing take center stage, and the visual format is secondary. Once the core writing has been completed, this text can be repurposed and reformatted in many ways.

Writing Tools:

Microsoft Word
Google Docs

Integration Ideas:

Position paper
Research report

Blogs are personal essays published online. Typically, bloggers will set up a website where they continue to add posts on a regular basis. Many blogging sites allow people to “follow” a blog. This allows followers to get notified whenever a new post is published. Blogs have become a popular way for writers to share their ideas with a wide audience at minimal to no cost. Blogs also allow readers to respond to posted ideas, making it more of a dialogue than a stand-alone piece of writing.

Blogging Tools:

Google Sites ( Tips )
Seesaw Blogs
A full-class blog (class news, highlights, etc.)
A passion project/topic
Reflections on class content
Book discussions
Student perspectives on current events
Class blogger of the week (students take turns)

3. Websites

Websites have become so common that we might be tempted to take them for granted. However, allowing students to create their own sites can be extremely empowering, and it offers many opportunities for creativity. Written messages can be combined with images, video, audio, interactive maps, and more. One significant supplementary benefit of students creating their own websites is that the process demystifies the concept of a website, often making students more informed and critical consumers because they know how a website is set up.

Website Creation Tools:

An overview of a year in history
A research project
A documentation of the scientific process
A learning journal documenting class progress
A collection of creative writing
An instructional site about a topic
A how-to guide
A personal learning journal

Comic strips are fun to read, but they can also serve as powerful learning artifacts when students create them to communicate a message or demonstrate their learning. Comics also allow students to be creative and tap into their artistic and visual skills. This can be very motivating for some students. To help guide students in the process, there are several online tools that provide frames, characters, settings, and more. Students can also use a slideshow or word processing tool to create their own comic strip from scratch.

Comic Strip Tools:

Google Slides
Microsoft PowerPoint
StoryJumper
MakeBeliefsComix
Storyboard That
Recreate a historical conversation
Engage in digital storytelling
Introduce a concept or topic
Raise awareness of a social issue
Apply vocabulary and subject-matter concepts
Communicate satire or parody
Tell a story

Students often take a great deal of pride in their writing when they see it published in book form. It provides an increased sense of accomplishment and affirms the worth of their words. Fortunately, it’s easier (and cheaper) than ever before for students to publish their work as a book. Several websites allow students to create digital books for free, while some charge only if you want to have them printed. Digital books provide the added advantage of being able to add multimedia alongside the written text. Again, the authentic product at the end of the process can increase student motivation in the project.

Book Creation Tools:

Book Creator ( Tips )
Write a piece of historical fiction
Retell history from different points of view
Write a biography
Tell an original story
Document learning
Teach a concept
Create a book of poetry
Make a picture book

6. News Articles

Students can integrate newswriting into many of these formats. Specifically, this would fit well with the creation of a website. It could even be a class news site, with each student adding their own article. However, you could also take a more traditional approach and have students create a print newspaper or magazine. This defined format helps give them focus and purpose. It’s also fun to see the final result printed out and displayed in the classroom. If you are teaching remotely, the finished pages can be posted digitally to your learning management system.

Newswriting Creation Tools:

Feature a day or year in history
Create a tribute to a scientist or mathematician
Publish a paper recounting events in a novel
Be a journalist for your school
Create an opinions page with editorials
Make your own version of a real magazine

7. Online Discussions

Most learning management systems have discussion tools built into their platforms. These can be great ways to get students writing collaboratively. It’s one thing to write for the teacher, but when a student knows that classmates will also be reading the posts, it changes the dynamic and motivation. In addition, it gives students a chance to think beyond their original post and reflect on feedback from their peers. Of course, you will want to define discussion protocols, model effective posts, and have students practice these skills. This process can ensure that the discussion experience is a positive and respectful one for all involved. Explore additional ideas for fostering substantive and respectful online discussions in a previous AOA article .

Discussion Tools:

Learning Management System ( Canvas , Schoology , Google Classroom , etc.)
Discuss a controversial topic
Conduct a virtual Socratic Seminar
Pose questions
Reflect on learning
Consider the impact of an event or opinion
Brainstorm ideas

Extend Your Learning

Why Students Should Write in All Subjects (Edutopia)
Blogging Resources (Ditch That Textbook)
Free Newspaper Templates (Free Google Docs Templates)
Google Slides Newspaper Template (Templates for Teachers)
Over 1,000 Writing Prompts for Students (The New York Times)
Best Apps for Creating Books and Storybooks (Common Sense Education)
Stimulate Classroom Time With These Student Website Project Ideas (WordPress)
Comic Strip Creations Lesson Plan (Grades 3–5) (Scholastic)
Five Ideas for Creating Comics in the Classroom (Creative Educator)

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5 Reasons Why It Is More Important Than Ever to Teach Creativity

Education Leadership

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On the laundry list of skills and content areas teachers have to cover, creativity doesn’t traditionally get top billing. It’s usually lumped together with other soft skills like communication and collaboration: Great to have, though not as important as reading or long division.

But research is showing that creativity isn’t just great to have. It’s an essential human skill — perhaps even an evolutionary imperative in our technology-driven world.

“The pace of cultural change is accelerating more quickly than ever before,” says Liane Gabora , associate professor of psychology and creative studies at the University of British Columbia. “In some biological systems, when the environment is changing quickly, the mutation rate goes up. Similarly, in times of change we need to bump up creativity levels — to generate the innovative ideas that will keep us afloat.”

From standardized tests to one-size-fits-all curriculum, public education often leaves little room for creativity, says EdNews Daily founder Robyn D. Shulman . This puts many schools out of sync with both global demand and societal needs, leaving students poorly prepared for future success.

What can education leaders do about it? For starters, they can make teaching creativity a priority. Here are five reasons to encourage teachers to bring more creativity into the classroom:

1. Creativity motivates kids to learn.

Decades of research link creativity with the intrinsic motivation to learn. When students are focused on a creative goal, they become more absorbed in their learning and more driven to acquire the skills they need to accomplish it.

As proof, education leader Ryan Imbriale cites his young daughter, who loves making TikTok videos showcasing her gymnastics skills. “She spends countless hours on her mat, working over and over again to try to get her gymnastics moves correct so she can share her TikTok video of her success,” says the executive director of innovative learning for Baltimore County Public Schools.

Students are most motivated to learn when certain factors are present: They’re able to tie their learning to their personal interests, they have a sense of autonomy and control over their task, and they feel competent in the work they’re doing. Creative projects can easily meet all three conditions.

2. Creativity lights up the brain.

Teachers who frequently assign classwork involving creativity are more likely to observe higher-order cognitive skills — problem solving, critical thinking, making connections between subjects — in their students. And when teachers combine creativity with transformative technology use, they see even better outcomes.

Creative work helps students connect new information to their prior knowledge, says Wanda Terral, director of technology for Lakeland School System outside of Memphis. That makes the learning stickier.

“Unless there’s a place to ‘stick’ the knowledge to what they already know, it’s hard for students to make it a part of themselves moving forward,” she says. “It comes down to time. There’s not enough time to give them the flexibility to find out where the learning fits in their life and in their brain.”

3. Creativity spurs emotional development.

The creative process involves a lot of trial and error. Productive struggle — a gentler term for failure — builds resilience, teaching students to push through difficulty to reach success. That’s fertile soil for emotional growth.

“Allowing students to experience the journey, regardless of the end result, is important,” says Terral, a presenter at ISTE Creative Constructor Lab .

Creativity gives students the freedom to explore and learn new things from each other, Imbriale adds. As they overcome challenges and bring their creative ideas to fruition, “students begin to see that they have limitless boundaries,” he says. “That, in turn, creates confidence. It helps with self-esteem and emotional development.”

4. Creativity can ignite those hard-to-reach students.

Many educators have at least one story about a student who was struggling until the teacher assigned a creative project. When academically disinclined students are permitted to unleash their creativity or explore a topic of personal interest, the transformation can be startling.

“Some students don’t do well on tests or don’t do well grade-wise, but they’re super-creative kids,” Terral says. “It may be that the structure of school is not good for them. But put that canvas in front of them or give them tools so they can sculpt, and their creativity just oozes out of them.”

5. Creativity is an essential job skill of the future.

Actually, it’s an essential job skill right now.

According to an Adobe study , 85% of college-educated professionals say creative thinking is critical for problem solving in their careers. And an analysis of LinkedIn data found that creativity is the second most in-demand job skill (after cloud computing), topping the list of soft skills companies need most. As automation continues to swallow up routine jobs, those who rely on soft skills like creativity will see the most growth.

“We can’t exist without the creative thinker. It’s the idea generation and the opportunity to collaborate with others that moves work,” Imbriale says.

“It’s one thing to be able to sit in front of computer screen and program something. But it’s another to have the conversations and engage in learning about what somebody wants out of a program to be written in order to be able to deliver on that. That all comes from a creative mindset.”

Nicole Krueger is a freelance writer and journalist with a passion for finding out what makes learners tick.

artificial intelligence

Classroom Q&A

With larry ferlazzo.

In this EdWeek blog, an experiment in knowledge-gathering, Ferlazzo will address readers’ questions on classroom management, ELL instruction, lesson planning, and other issues facing teachers. Send your questions to [email protected]. Read more from this blog.

Four Strategies for Effective Writing Instruction

(This is the first post in a two-part series.)

The new question-of-the-week is:

What is the single most effective instructional strategy you have used to teach writing?

Teaching and learning good writing can be a challenge to educators and students alike.

The topic is no stranger to this column—you can see many previous related posts at Writing Instruction .

But I don’t think any of us can get too much good instructional advice in this area.

Today, Jenny Vo, Michele Morgan, and Joy Hamm share wisdom gained from their teaching experience.

Before I turn over the column to them, though, I’d like to share my favorite tool(s).

Graphic organizers, including writing frames (which are basically more expansive sentence starters) and writing structures (which function more as guides and less as “fill-in-the-blanks”) are critical elements of my writing instruction.

You can see an example of how I incorporate them in my seven-week story-writing unit and in the adaptations I made in it for concurrent teaching.

You might also be interested in The Best Scaffolded Writing Frames For Students .

Now, to today’s guests:

‘Shared Writing’

Jenny Vo earned her B.A. in English from Rice University and her M.Ed. in educational leadership from Lamar University. She has worked with English-learners during all of her 24 years in education and is currently an ESL ISST in Katy ISD in Katy, Texas. Jenny is the president-elect of TexTESOL IV and works to advocate for all ELs:

The single most effective instructional strategy that I have used to teach writing is shared writing. Shared writing is when the teacher and students write collaboratively. In shared writing, the teacher is the primary holder of the pen, even though the process is a collaborative one. The teacher serves as the scribe, while also questioning and prompting the students.

The students engage in discussions with the teacher and their peers on what should be included in the text. Shared writing can be done with the whole class or as a small-group activity.

There are two reasons why I love using shared writing. One, it is a great opportunity for the teacher to model the structures and functions of different types of writing while also weaving in lessons on spelling, punctuation, and grammar.

It is a perfect activity to do at the beginning of the unit for a new genre. Use shared writing to introduce the students to the purpose of the genre. Model the writing process from beginning to end, taking the students from idea generation to planning to drafting to revising to publishing. As you are writing, make sure you refrain from making errors, as you want your finished product to serve as a high-quality model for the students to refer back to as they write independently.

Another reason why I love using shared writing is that it connects the writing process with oral language. As the students co-construct the writing piece with the teacher, they are orally expressing their ideas and listening to the ideas of their classmates. It gives them the opportunity to practice rehearsing what they are going to say before it is written down on paper. Shared writing gives the teacher many opportunities to encourage their quieter or more reluctant students to engage in the discussion with the types of questions the teacher asks.

Writing well is a skill that is developed over time with much practice. Shared writing allows students to engage in the writing process while observing the construction of a high-quality sample. It is a very effective instructional strategy used to teach writing.

‘Four Square’

Michele Morgan has been writing IEPs and behavior plans to help students be more successful for 17 years. She is a national-board-certified teacher, Utah Teacher Fellow with Hope Street Group, and a special education elementary new-teacher specialist with the Granite school district. Follow her @MicheleTMorgan1:

For many students, writing is the most dreaded part of the school day. Writing involves many complex processes that students have to engage in before they produce a product—they must determine what they will write about, they must organize their thoughts into a logical sequence, and they must do the actual writing, whether on a computer or by hand. Still they are not done—they must edit their writing and revise mistakes. With all of that, it’s no wonder that students struggle with writing assignments.

In my years working with elementary special education students, I have found that writing is the most difficult subject to teach. Not only do my students struggle with the writing process, but they often have the added difficulties of not knowing how to spell words and not understanding how to use punctuation correctly. That is why the single most effective strategy I use when teaching writing is the Four Square graphic organizer.

The Four Square instructional strategy was developed in 1999 by Judith S. Gould and Evan Jay Gould. When I first started teaching, a colleague allowed me to borrow the Goulds’ book about using the Four Square method, and I have used it ever since. The Four Square is a graphic organizer that students can make themselves when given a blank sheet of paper. They fold it into four squares and draw a box in the middle of the page. The genius of this instructional strategy is that it can be used by any student, in any grade level, for any writing assignment. These are some of the ways I have used this strategy successfully with my students:

* Writing sentences: Students can write the topic for the sentence in the middle box, and in each square, they can draw pictures of details they want to add to their writing.

* Writing paragraphs: Students write the topic sentence in the middle box. They write a sentence containing a supporting detail in three of the squares and they write a concluding sentence in the last square.

* Writing short essays: Students write what information goes in the topic paragraph in the middle box, then list details to include in supporting paragraphs in the squares.

When I gave students writing assignments, the first thing I had them do was create a Four Square. We did this so often that it became automatic. After filling in the Four Square, they wrote rough drafts by copying their work off of the graphic organizer and into the correct format, either on lined paper or in a Word document. This worked for all of my special education students!

I was able to modify tasks using the Four Square so that all of my students could participate, regardless of their disabilities. Even if they did not know what to write about, they knew how to start the assignment (which is often the hardest part of getting it done!) and they grew to be more confident in their writing abilities.

In addition, when it was time to take the high-stakes state writing tests at the end of the year, this was a strategy my students could use to help them do well on the tests. I was able to give them a sheet of blank paper, and they knew what to do with it. I have used many different curriculum materials and programs to teach writing in the last 16 years, but the Four Square is the one strategy that I have used with every writing assignment, no matter the grade level, because it is so effective.

‘Swift Structures’

Joy Hamm has taught 11 years in a variety of English-language settings, ranging from kindergarten to adult learners. The last few years working with middle and high school Newcomers and completing her M.Ed in TESOL have fostered stronger advocacy in her district and beyond:

A majority of secondary content assessments include open-ended essay questions. Many students falter (not just ELs) because they are unaware of how to quickly organize their thoughts into a cohesive argument. In fact, the WIDA CAN DO Descriptors list level 5 writing proficiency as “organizing details logically and cohesively.” Thus, the most effective cross-curricular secondary writing strategy I use with my intermediate LTELs (long-term English-learners) is what I call “Swift Structures.” This term simply means reading a prompt across any content area and quickly jotting down an outline to organize a strong response.

To implement Swift Structures, begin by displaying a prompt and modeling how to swiftly create a bubble map or outline beginning with a thesis/opinion, then connecting the three main topics, which are each supported by at least three details. Emphasize this is NOT the time for complete sentences, just bulleted words or phrases.

Once the outline is completed, show your ELs how easy it is to plug in transitions, expand the bullets into detailed sentences, and add a brief introduction and conclusion. After modeling and guided practice, set a 5-10 minute timer and have students practice independently. Swift Structures is one of my weekly bell ringers, so students build confidence and skill over time. It is best to start with easy prompts where students have preformed opinions and knowledge in order to focus their attention on the thesis-topics-supporting-details outline, not struggling with the rigor of a content prompt.

Here is one easy prompt example: “Should students be allowed to use their cellphones in class?”

Swift Structure outline:

Thesis - Students should be allowed to use cellphones because (1) higher engagement (2) learning tools/apps (3) gain 21st-century skills

Topic 1. Cellphones create higher engagement in students...

Details A. interactive (Flipgrid, Kahoot)

B. less tempted by distractions

C. teaches responsibility

Topic 2. Furthermore,...access to learning tools...

A. Google Translate description

B. language practice (Duolingo)

C. content tutorials (Kahn Academy)

Topic 3. In addition,...practice 21st-century skills…

Details A. prep for workforce

B. access to information

C. time-management support

This bare-bones outline is like the frame of a house. Get the structure right, and it’s easier to fill in the interior decorating (style, grammar), roof (introduction) and driveway (conclusion). Without the frame, the roof and walls will fall apart, and the reader is left confused by circuitous rubble.

Once LTELs have mastered creating simple Swift Structures in less than 10 minutes, it is time to introduce complex questions similar to prompts found on content assessments or essays. Students need to gain assurance that they can quickly and logically explain and justify their opinions on multiple content essays without freezing under pressure.

Thanks to Jenny, Michele, and Joy for their contributions!

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A Guide to Effective Writing Instruction

Teacher providing individualized writing support to two students seated at a table, engaging in one-on-one instruction and collaborative writing guidance."

In this blog post, Dr. Gary Troia explores the world of effective writing instruction, linking structured literacy practices with the art of teaching writing effectively to provide valuable insights for educators. Throughout this post, readers will gain a deep understanding of the essential elements of effective writing instruction and how to seamlessly incorporate them into the structured literacy classroom.

Table of Contents

Understanding Structured Literacy

The Writing Rope by Joan Sedita

Characteristics of effective writing curriculum, references and further reading, introduction to structured literacy, understanding structured literacy and its role in reading and writing education.

In structured literacy classrooms in which principles associated with the science of reading are employed, teachers use comprehensive, systematic, and explicit instruction to address the fundamental building blocks of successful reading—phonological awareness, phonics patterns, reading fluency, vocabulary knowledge, and reading comprehension (which is addressed primarily through the development of topic and discourse knowledge). Of course, reading is only one aspect of literacy that requires teachers’ expertise and focus; writing development and instruction also benefit from a structured literacy approach. However, many teachers may be unfamiliar with teaching writing using this approach, in part because most teachers have little preparation to teach writing and because there has been a dearth of high-quality writing curricula and instructional materials available for teachers to use.

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The Essential Components of Writing Instruction

The Writing Rope by Joan Sedita (2022) offers a convenient way of remembering the critical building blocks of writing in a structured literacy classroom. These are: (1) transcription skills, namely spelling, handwriting, and keyboarding; (2) text structures, including types of writing genres and their main structural elements (e.g., narratives have a setting, a plot with a climax, and character reactions), varied discourse patterns within genres (e.g., compare-contrast versus cause-effect, flashbacks, and flashforwards, haiku versus sonnet), paragraph organization, and vocabulary used to signal linkages and transitions between ideas; (3) syntax, which includes awareness and use of appropriate grammatical structures to most effectively convey meaning; sentence elaboration and combining; and punctuation used to signal syntactic elements; (4) writing craft, namely precise and varied word choice, literary devices (e.g., allusion, symbolism, onomatopoeia), and awareness of task, audience, and purpose; and (5) critical thinking, which includes gathering information through reading source materials and/or performing their own investigations, generating and organizing ideas (i.e., planning), drafting text by hand or through digital means in manageable segments, and revising and editing a text for communicative effectiveness.

All these building blocks in the structured writing classroom must be thoughtfully coordinated to form a comprehensive writing program for students, which is necessary across grades and across disciplines taught in schools to help all students become competent writers. An exemplary writing program also will typically have the following characteristics (see Troia, 2013 for more information):

• Meaningful writing experiences and authentic writing tasks that promote personal and collective expression, reflection, inquiry, discovery, and social change whenever possible to motivate students.

• A sense of community in which risks are encouraged, children and teachers are both viewed as and engage as writers, personal ownership is expected, and collaboration is a cornerstone so that students are willing to experiment with their writing.

• Predictable routines that involve both explicit instruction (i.e., modeling with teacher think-aloud, guided collaborative practice with feedback, and independent practice opportunities with feedback) and sustained student practice; in kindergarten, at least 30 minutes daily is recommended, while beyond kindergarten at least one hour daily is recommended, with half the time allocated to explicit instruction (see Graham et al., 2012).

• A common language for shared expectations and feedback regarding writing quality, which might include the use of traits (e.g., organization, ideas, sentence fluency, word choice, voice, conventions, and presentation).

• Procedural supports such as anchor charts, student-teacher and peer conferences, graphic organizers, checklists for revision/editing, “booster” lessons to help students attain mastery, and computer tools for removing transcription barriers when necessary.

• Integration of writing instruction with reading instruction and content-area instruction (e.g., use of touchstone or mentor texts to guide genre study used for all literacy activities, use of common themes across the curriculum, maintaining learning notebooks in math and science classes as source material for writing, teaching decoding and spelling of the same phonics patterns, teaching letter formation while introducing letter-sound correspondences).

• Intentional adjustments to emphasis on teaching the writing process, form, and meaning to meet learners’ needs.

• Differentiated instruction for struggling learners, multilingual learners, and advanced learners.

• Resident writers and guest authors who share their expertise, struggles, and successes so that children and teachers have positive role models and develop a broader sense of writing craft.

• Opportunities for teachers to upgrade and expand their own conceptions of writing, the writing process, and how children learn to write, primarily through professional development activities but also through being active members of a writing community (e.g., the National Writing Project).

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Empowering Writers Through Self-Regulation

To assist students with navigating all the complex aspects of writing, teachers should consider the role of self-regulation in writing, as successful writers are highly aware of themselves as writers, of factors that influence their writing performance, and of how to use diverse strategies to manage these factors effectively. Self-regulation in writing includes at least three coordinated components: (1) goal setting, (2)self-talk, and (3) self-evaluation. Incorporating self-regulation components in writing instruction has been shown to positively affect both strong and weak writers’ composing abilities (e.g., Graham, Harris, & Mason, 2005; Graham & Perin, 2007).

The Power of Goal Setting in Writing

Setting goals enhances attention, motivation, and effort and facilitates strategic behaviors (e.g., planning before drafting) through the valuation of goal attainment. In other words, if a goal is sufficiently important, a student will do all that is necessary to attain it. Research has demonstrated that goal setting improves writing skills (e.g., De La Paz, 2007; Page-Voth & Graham, 1999). For goals to have the most beneficial impact on writing behavior and performance and to encourage the student to marshal sufficient effort, they should be challenging (i.e., just beyond the student’s current level of writing skill), proximal (i.e., attainable within a short period of time), concrete, and self-selected or collaboratively established (because real or perceived control boosts achievement motivation). Goals can focus on a writing process (e.g., “I will use my graphic organizer to help me write”; “I will have my writing partner check my paper for mistakes before I put it in my portfolio”) or an aspect of the product (e.g., “I will be sure to have at least three main ideas and, for each idea, two supporting details in my informative paper”; I will include at least five action helpers, descriptive words, or transition words to improve my word choice”).

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The Magic of Self-Talk for Young Writers

Self-talk (instructions, questions, affirmations, or exhortations directed to oneself) helps orient attention to relevant information, organize thoughts, plan actions, and execute behaviors. In addition, self-talk helps one cope with anxiety, frustration, self-doubt, and impulsivity, which tend to plague struggling writers and even those who are more accomplished writers. Self-talk has been widely investigated for several decades by researchers in many areas of psychology—sports, counseling, psychotherapy, and education—with promising results (e.g., Dobson, 2010; Manning & Payne, 1996). With respect to teaching young writers to use self-talk, it is most effective when (1) the content is tailored to the demands of the task and the individual’s needs; (2) it is rehearsed aloud to automaticity and then used as a form of “inner speech” to control thoughts, feelings, and actions; and (3) it is monitored for fidelity of use by the teacher. Examples of self-talk include, “Have I used my revising checklist to check my work?,” “This is hard, but I can do it if I try my best,” “I am good at coming up with ideas, so I will turn in a good paper,” and “Keep concentrating so you do not get distracted!”

Encouraging Self-Evaluation and Growth in Young Writers

Self-evaluation consists of self-monitoring and self-recording behavior and can be used to assess attention, strategy use, and task performance. Frequently, self-evaluation is accomplished through the graphic representation of a target behavior’s occurrence with a goal (thus, these two aspects of self-regulation are functionally interdependent). For instance, students might quantify their use of story structure elements in fictional narratives produced over time on a chart with the maximum score at the top (the goal). Likewise, students can track how many words they have written per time interval, with the goal of increasing their productivity by 25% over baseline. Self-evaluation has been found to positively affect behavior and academic performance (e.g., Lloyd, Bateman, Landrum, & Hallahan, 1989; Maag et al., 1993). Self-evaluation helps students establish worthwhile goals because the concrete data collected during this process provide feedback on their status relative to an external benchmark or a personal goal.

Fostering Writing Skills with Mentor Texts

Several other practices based on empirical research and informed professional practice can help teachers foster writing development (see Graham & Perin, 2007). The examination of touchstone or mentor texts for attributes that students can mimic in their own writing (e.g., a strong lead for an informative article, the use of dialogue to advance the plot in a story, applying onomatopoeia to create vivid sensory details, the use of punctuation and capitalization to mark and build cadence in a poem) helps them internalize a mental model for the written product and identify rhetorical goals. It thus gives students a focus for their planning and revising efforts. The use of mentor texts is enhanced when strong models of particular aspects of writing are contrasted with weak examples. A related instructional practice involves activities to develop genre and topic knowledge. Again, such knowledge can help students acquire internal frames of reference or performance benchmarks for planning and making meaningful revisions to their writing. In many cases, knowledge about a genre is appropriated through immersion in texts that exemplify the canonical genre traits (e.g., story structure) and discussion of (1) how the genre reflects a unique way of communicating ideas within specific contexts (its purposes and functions) and (2) how the genre is embodied in the structure of the text (its form). Explicit and systematic instruction in genre structure, coupled with authentic purposes for reading and writing in that genre, positively impacts the quality of students’ writing within a genre (e.g., Purcell-Gates, Duke, & Martineau, 2007).

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Elevating Writing through Effective Peer and Teacher Conferencing

Finally, peer and teacher conferencing, whether one-on-one or in small groups, is frequently used in structured writing classrooms to engineer better student papers. However, conferencing between students and teachers often has the “flavor” of typical instructional discourse (teacher-controlled and centered on assignment requirements and teacher expectations) rather than egalitarian conversations regarding writing craft and composition content, especially when the teacher is more knowledgeable about the writing topic. Moreover, peer respondents often provide vague and unhelpful comments and suggestions to authors unless they are explicitly taught to give meaningful feedback. Thus, the positive impact of conference feedback on the quality of students’ papers is likely because many students benefit from attention to even the most global aspects of composition, such as text structure and form, and notably improve their texts with even limited revision. To maximize the effectiveness of writing conferences, a teacher should aim to do the following (see Martin & Certo, 2008):

• Establish a conversational stance to understand students’ goals and ideas before discussing specific textual issues.

• Provide frequent and varied opportunities for conferencing about pieces of writing.

• Encourage flash drafting, a technique in which smaller segments of text (e.g., the climax of a story) are drafted, examined (through conferencing), and revised to help the student feel less invested in a completed draft of the whole paper.

• Collaboratively establish concrete goals for planning, drafting, and/or revision.

• Give weaker writers more conference time that is also of high quality.

• Along with a student’s text, use checklists, questionnaires, and graphic aids as touchpoints during conferences to help link concrete tools with strategic behaviors.

Empowering Educators Through Effective Writing Instruction

In conclusion, effective writing instruction is a vital component of literacy education, and when coupled with structured literacy practices, it can genuinely empower educators and students alike. I hope this blog post has shed light on the critical elements of effective writing instruction and how they can be harnessed within structured literacy classrooms. For those eager to explore this topic further, I invite you to learn more about Bridge to Writing at heggerty.org/bridgetowriting, where you can access valuable resources and tools to enhance your teaching journey. Together, we can help students become proficient and confident writers.

? Ready to dive into more learning? Take a peek at some of our popular structured literacy resources:

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De La Paz, S. (2007). Managing cognitive demands for writing: Comparing the effects of instructional components in strategy instruction. Reading and Writing Quarterly: Overcoming Learning Difficulties, 23, 249-266.

Dobson, K S. (Ed.). (2010). Handbook of cognitive-behavioral therapies (3rd ed.). Guilford Press.

Graham, S., Bollinger, A., Booth Olson, C., D’Aoust, C., MacArthur, C., McCutchen, D., & Olinghouse,

N. (2012). Teaching elementary school students to be effective writers: A practice guide (NCEE 2012-

4058). Washington, DC: National Center for Education Evaluation and Regional Assistance, Institute of Education Sciences, U.S. Department of Education. Retrieved from http://ies.ed.gov/ncee/wwc/publications_reviews.aspx#pubsearch.

Graham, S., Harris, K. R., & Mason, L. (2005). Improving the writing performance, knowledge, and self-efficacy of struggling young writers: The effects of self-regulated strategy development. Contemporary Educational Psychology, 30, 207-241.

Graham, S., & Perin, D. (2007). Writing next: Effective strategies to improve writing of adolescents in middle and high schools—A report to Carnegie Corporation of New York . Washington, DC: Alliance for Excellent Education.

Lloyd, J. W., Bateman, D. F., Landrum, T. J., & Hallahan, D. P. (1989). Self-recording of attention versus productivity. Journal of Applied Behavior Analysis, 22, 315-323.

Maag, J. W., Reid, R., & DiGangi, S. A (1993). Differential effects of self-monitoring attention, accuracy, and productivity. Journal of Applied Behavior Analysis, 26, 329-344.

Manning, B. H., & Payne, B. D. (1996). Self-talk for teachers and students: Metacognitive strategies

for personal and classroom use . Allyn & Bacon.

Martin, N. M., & Certo, J. L. (2008, February). Truth or tale? The efficacy of teacher-student writing conferences . Paper presented at the Third Writing Research across Borders Conference, Santa Barbara, CA.

Page-Voth, V., & Graham, S. (1999). Effects of goal setting and strategy use on the writing performance and self-efficacy of students with writing and learning problems. Journal of Educational Psychology, 91, 230-240.

Purcell-Gates, V., Duke, N. K., & Martineau, J. A (2007). Learning to read and write genre-specific texts: Roles of authentic experience and explicit teaching. Reading Research Quarterly, 42, 8-45.

Sedita, J. (2022). The writing rope: A framework for explicit writing instruction in all subjects . Brookes Publishing.

Troia, G. A. (2013). Effective writing instruction in the 21st century. In B. M. Taylor & N. K. Duke (Eds.), Handbook of effective literacy instruction: Research-based practice K-8 (pp. 298-345). Guilford Press.

Gary A. Troia, PhD, CCC-SLP

Gary A. Troia, PhD, CCC-SLP, is Associate Professor of Special Education at Michigan State University. Prior to receiving his doctorate from the University of Maryland in 2000, he worked 10 years in the public schools as a special educator and speech- language pathologist, and 6 years as a university clinical supervisor. Dr. Troia is co- editor of the journal Topics in Language Disorders and serves on the editorial boards of several top special education journals. With colleagues Froma Roth and Colleen Worthington, he developed a phonological awareness intervention program for young at-risk children called Promoting Awareness of Speech Sounds (PASS), published by Attainment Company. With fellow researchers Lori Skibbe and Ryan Bowles and funding through the Institute of Education Sciences, he has developed an online phonological awareness assessment for young children with complex communication needs called ATLAS-PA, one component of the Access to Literacy Assessment System. Dr. Troia has authored over 70 research papers, book chapters, and white papers and has given numerous presentations about his work in the areas of phonological processing and awareness, writing assessment and instruction, and teacher professional development in literacy. He has been awarded over $6.5 million in intramural and extramural grants and contracts.

Education Articles & More

How creative writing can increase students’ resilience, students can find strength and community in sharing their stories through writing..

Many of my seventh-grade students do not arrive at school ready to learn. Their families often face financial hardship and live in cramped quarters, which makes it difficult to focus on homework. The responsibility for cooking and taking care of younger siblings while parents work often falls on these twelve year olds’ small shoulders. Domestic violence and abuse are also not uncommon.

To help traumatized students overcome their personal and academic challenges, one of our first jobs as teachers is to build a sense of community. We need to communicate that we care and that we welcome them into the classroom just as they are. One of the best ways I’ve found to connect with my students, while also nurturing their reading and writing skills, is through creative writing.

For the past three years, I’ve invited students in my English Language Development (ELD) classes to observe their thoughts, sit with their emotions, and offer themselves and each other compassion through writing and sharing about their struggles. Creating a safe, respectful environment in which students’ stories matter invites the disengaged, the hopeless, and the numb to open up. Students realize that nobody is perfect and nobody’s life is perfect. In this kind of classroom community, they can take the necessary risks in order to learn, and they become more resilient when they stumble.

Fostering a growth mindset

One of the ways students can boost their academic performance and develop resilience is by building a growth mindset. Carol Dweck, Stanford University professor of psychology and author of the book Mindset , explains that people with a growth mindset focus on learning from mistakes and welcoming challenges rather than thinking they’re doomed to be dumb or unskillful. A growth mindset goes hand in hand with self-compassion: recognizing that everyone struggles and treating ourselves with kindness when we trip up.

One exercise I find very useful is to have students write a story about a time when they persevered when faced with a challenge—in class, sports, or a relationship. Some of the themes students explore include finally solving math problems, learning how to defend themselves, or having difficult conversations with parents.

I primed the pump by telling my students about something I struggled with—feeling left behind in staff meetings as my colleagues clicked their way through various computer applications. I confided that PowerPoint and Google Slides—tools (one might assume) that any teacher worth a paperweight has mastered—still eluded me. By admitting my deficiency to my students, asking for their help, and choosing to see the opportunity to remedy it every day in the classroom, I aimed to level the playing field with them. They may have been reading three or four grade levels behind, but they could slap a PowerPoint presentation together in their sleep.

For students, sharing their own stories of bravery, resilience, and determination brings these qualities to the forefront of their minds and helps solidify the belief that underlies a growth mindset: I can improve and grow . We know from research in neuroplasticity that when students take baby steps to achieve a goal and take pride in their accomplishments, they change their brains, growing new neural networks and fortifying existing ones. Neurons in the brain release the feel-good chemical dopamine, which plays a major role in motivating behavior toward rewards.

After writing about a few different personal topics, students choose one they want to publish on the bulletin boards at the back of the classroom. They learn to include the juicy details of their stories (who, what, when, where, why, and how), and they get help from their peers, who ask follow-up questions to prompt them to include more information. This peer editing builds their resilience in more ways than one—they make connections with each other by learning about each other’s lives, and they feel empowered by lending a hand.

In my experience, students are motivated to do this assignment because it helps them feel that their personal stories and emotions truly matter, despite how their other academics are going. One student named Alejandro chose to reflect on basketball and the persistence and time it took him to learn:

Hoops By Alejandro Gonzalez Being good takes time. One time my sister took me to a park and I saw people playing basketball. I noticed how good they were and decided I wanted to be like them. Still I told my sister that basketball looked hard and that I thought I couldn’t do it. She said,“You could do it if you tried. You’ll get the hang of it.” My dad bought me a backboard and hoop to play with. I was really happy, but the ball wasn’t making it in. Every time I got home from school, I would go straight to the backyard to play. I did that almost every day until little by little I was getting the hang of it. I also played with my friends. Every day after lunch we would meet at the basketball court to have a game. … I learned that you need to be patient and to practice a lot to get the hang of things. With a little bit of practice, patience, and hard work, anything is possible.

Originally, Alejandro wasn’t sure why he was in school and often lacked the motivation to learn. But writing about something he was passionate about and recalling the steps that led to his success reminded him of the determination and perseverance he had demonstrated in the past, nurturing a positive view of himself. It gave him a renewed sense of investment in learning English and eventually helped him succeed in his ELD class, as well.

Maintaining a hopeful outlook

Another way to build resilience in the face of external challenges is to shore up our inner reserves of hope —and I’ve found that poetry can serve as inspiration for this.

For the writing portion of the lesson, I invite students to “get inside” poems by replicating the underlying structure and trying their hand at writing their own verses. I create poem templates, where students fill in relevant blanks with their own ideas.

One poem I like to share is “So Much Happiness” by Naomi Shihab Nye. Its lines “Even the fact that you once lived in a peaceful tree house / and now live over a quarry of noise and dust / cannot make you unhappy” remind us that, despite the unpleasant events that occur in our lives, it’s our choice whether to allow them to interfere with our happiness. The speaker, who “love[s] even the floor which needs to be swept, the soiled linens, and scratched records,” has a persistently sunny outlook.

It’s unrealistic for students who hear gunshots at night to be bubbling over with happiness the next morning. Still, the routine of the school day and the sense of community—jokes with friends, a shared bag of hot chips for breakfast, and a creative outlet—do bolster these kids. They have an unmistakable drive to keep going, a life force that may even burn brighter because they take nothing for granted—not even the breath in their bodies, life itself.

Itzayana was one of those students who, due to the adversity in her life, seemed too old for her years. She rarely smiled and started the school year with a defiant approach to me and school in general, cursing frequently in the classroom. Itzayana’s version of “So Much Happiness” hinted at some of the challenges I had suspected she had in her home life:

It is difficult to know what to do with so much happiness. Even the fact that you once heard your family laughing and now hear them yelling at each other cannot make you unhappy. Everything has a life of its own, it too could wake up filled with possibilities of tamales and horchata and love even scrubbing the floor, washing dishes, and cleaning your room. Since there is no place large enough to contain so much happiness, help people in need, help your family, and take care of yourself. —Itzayana C.

Her ending lines, “Since there is no place large enough to contain so much happiness, / help people in need, help your family, and take care of yourself,” showed her growing awareness of the need for self-care as she continued to support her family and others around her. This is a clear sign of her developing resilience.

Poetry is packed with emotion, and writing their own poems allows students to grapple with their own often-turbulent inner lives. One student commented on the process, saying, “By writing poems, I’ve learned to be calm and patient, especially when I get mad about something dumb.” Another student showed pride in having her writing published; she reflected, “I feel good because other kids can use it for calming down when they’re angry.”

To ease students into the creative process, sometimes we also write poems together as a class. We brainstorm lines to include, inviting the silly as well as the poignant and creating something that represents our community.

Practicing kindness

Besides offering my students new ways of thinking about themselves, I also invite them to take kind actions toward themselves and others.

In the music video for “Give a Little Love” by Noah and the Whale, one young African American boy—who witnesses bullying at school and neglect in his neighborhood —decides to take positive action and whitewash a wall of graffiti. Throughout the video, people witness others’ random acts of kindness, and then go on to do their own bit.

“My love is my whole being / And I’ve shared what I could,” the lyrics say—a reminder that our actions speak louder than our words and do have an incredible impact. The final refrain in the song—“Well if you are (what you love) / And you do (what you love) /...What you share with the world is what it keeps of you”—urges the students to contribute in a positive way to the classroom, the school campus, and their larger community.

After watching the video, I ask students to reflect upon what kind of community they would like to be part of and what makes them feel safe at school. They write their answers—for example, not being laughed at by their peers and being listened to—on Post-it notes. These notes are used to create classroom rules. This activity sends a message early on that we are co-creating our communal experience together. Students also write their own versions of the lyrics, reflecting on different things you can give and receive—like kindness, peace, love, and ice cream.

Reaping the benefits

To see how creative writing impacts students, I invite them to rate their resilience through a self-compassion survey at the start of the school year and again in the spring. Last year, two-thirds of students surveyed increased in self-compassion; Alejandro grew his self-compassion by 20 percent. The program seems to work at developing their reading and writing skills, as well: At the middle of the school year, 40 percent of my students moved up to the next level of ELD, compared to 20 percent the previous year.

As a teacher, my goal is to meet students where they’re at and learn about their whole lives. Through creative writing activities, we create a community of compassionate and expressive learners who bear witness to the impact of trauma in each others’ experiences and together build resilience.

As a symbol of community and strength, I had a poster in my classroom of a boat at sea with hundreds of refugees standing shoulder to shoulder looking skyward. It’s a hauntingly beautiful image of our ability to risk it all for a better life, as many of my ELD students do. Recognizing our common humanity and being able to share about our struggles not only leads to some beautiful writing, but also some brave hearts.

About the Author

Laura Bean, M.F.A. , executive director of Mindful Literacy, consults with school communities to implement mindfulness and creative writing programs. She has an M.F.A. in Creative Writing and presented a mindful writing workshop at Bridging the Hearts and Minds of Youth Conference in San Diego in 2016.

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Teaching Creative Writing: The Essential Guide

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ISBN-10 1350276480
ISBN-13 978-1350276482
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Publisher ‏ : ‎ Bloomsbury Academic (February 8, 2024)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 198 pages
ISBN-10 ‏ : ‎ 1350276480
ISBN-13 ‏ : ‎ 978-1350276482
Item Weight ‏ : ‎ 13.4 ounces
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About the author

Stephanie vanderslice.

Stephanie Vanderslice's was born in Queens, NY in 1967 and grew up there and in the suburbs of Albany. Her essays have appeared in Mothers in All But Name, Knowing Pains: Women on Love, Sex and Work in their 40's and many others. In addition to The Geek's Guide to the Writing Life, she has also published Can Creative Writing Really Be Taught? 10th Anniversary edition (co-edited with Rebecca Manery) with Bloomsbury. Other books include Rethinking Creative Writing and Teaching Creative Writing to Undergraduates (with Kelly Ritter). Professor of Creative Writing and Director of the Arkansas Writer's MFA Workshop at the University of Central Arkansas, she also writes novels and has published creative nonfiction, fiction, and creative criticism in such venues as Ploughshares Online, Easy Street and others. Her column, The Geek's Guide to the Writing Life appears regularly in the Huffington Post.

Recommended reads include Simon Van Booy's Father's Day, Nicole Krauss's Great House, Jhumpa Lahiri's Unaccustomed Earth, and Jesse Lee Kercheval's The Museum of Happiness (all time favorite). Stephanie lives in Conway, Arkansas with her husband, writer John Vanderslice (no, not the indie songster) and two sons. She can also make a mean loaf of french bread.

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Anchor your writing instruction in big ideas students can remember

Years later, when one of my journalism students won a Los Angeles Times award for news writing, I thought more deeply about the instructional changes I had made. I also thought about the social and emotional factors that likely enabled this once-timid reporter to tackle tough issues and blossom into an adept writer. What I realized from this exercise is that many of my instructional shifts had more to do with “leaning in” and getting to know my student as a writer, along with “letting go” of some outdated notions about what good writing is.

These are the three most important lessons I learned that I’d like to pass along.

Lesson #1: Writing instruction begins with a shared language for talking about writing and a shared understanding of the purposes for writing

Anchoring your instruction in a few big ideas that students can remember helps simplify the experience for everyone—and writing is always an experience.

As a new English language arts teacher, I often made writing more complicated than it needed to be. In my journalism classes, things were simple: we focused on the 5Ws and H (who? What? When? Where? Why? How?). It was easy for every student to remember and internalize these guiding questions.

If only there were a similar list of questions I could apply to other writing tasks! Over time, I found that there was. And at NWEA, I’ve had the opportunity to collaborate with current and former teachers to hone that list of essential questions down to the following five.

If anchoring your instruction in big ideas students can remember resonates with you, like it did for me, I encourage you to try incorporating these five essential questions into your writing curriculum.

We’ve even compiled these big ideas for growing writers into a free resource aimed at building a shared language for talking about writing with students. To that end, we’ve created a student version , too.

1. Why am I writing?

This question encourages students to ponder their purpose for writing. Often, their immediate response to this question is, “I’m writing because my teacher assigned me this essay/report/research paper.”

If we can get students to push past the idea of writing as an assignment and toward writing as a form of communication, we may see a dramatic increase in their motivation and writing quality. “What do you want to accomplish with this piece of writing?” becomes the question, not “What kind of writing does your teacher want from you?”

Writing is always the intellectual product of the writer, and the more we can encourage students to see themselves as writers and to take ownership of their writing, the better the results. Before students write, it’s critical they know and understand their purpose for writing, as this purpose informs so many other choices they will make.

2. Who are my readers?

This question forces students to consider their audience . When writers can anticipate the needs of their audience, they increase the effectiveness of their communication.

If the only audience a student ever has for their writing is a teacher, they lose the opportunity to make writerly decisions based on different audiences, such as considering their unique feelings and opinions about a topic, their different vocabularies (e.g., familiarity with code switching, idioms, or jargon), and their varying degrees of background knowledge. This is why giving students authentic writing tasks is so important . Authentic writing engages students in the same cognitive processes they use to write for real-world situations, such as applying for a job, taking civic action, or even communicating with family and friends.

3. What am I writing?

This question gets students to think more deeply about the task , genre , and form for their writing. While some of this information is likely included in the writing assignment, it’s still important for students to work through the task details on their own.

Students will make more informed writing decisions when they are able to clearly articulate the expectations and success criteria for a writing task . The writing genre provides another framework for students to think about their purpose for writing. Each genre’s unique features have developed over time through socially agreed-upon conventions, and experienced writers understand how to use these features to communicate more clearly with their audiences. Finally, form —or format—describes the type of text to be produced, and today’s writers have more forms to choose from—both analog and digital—than ever before.

When students put time and thought into their purpose, audience, and task, they have a greater command over their writing and what they want it to accomplish. And that’s when we get to see students’ communication skills and creativity truly shine through.

4. How am I presenting ideas in my writing?

This question addresses the myriad of choices a writer must make when they embark on a task, including decisions about writing development , organization , style , and conventions . Too often, this is where we ask students to start, and it can be overwhelming to make all these decisions before a student has wrapped their head around what they plan to write and why. In addition, while these writerly decisions are important, we may place too great an emphasis on a student’s final written product when a focus on their writing process may have more instructional utility.

My advice to students is, “Don’t sweat the small stuff when it comes to presenting ideas in your writing.” The ideas themselves are what’s most important. They’ll have numerous opportunities to practice and hone their writing development, organization, style, and conventions with every piece they write and over an entire lifetime.

5. How am I using the writing process?

This question reminds students that writing is both a product and a process . And the writing process is where much of the learning and critical thinking takes place.

Though writing is often taught as a sequence of forward-moving steps, the writing process is recursive and iterative, not linear . For example, writers go back and forth between planning, drafting, translating, reviewing, and revising to meet their writing goals, and writing goals can be self-generated or revised at any time during the writing process.

Writing itself is a work in progress that includes collaboration, self-regulation, and self-evaluation in addition to the other steps students typically learn. The more frequently students engage in and reflect on their own writing process, the more likely they are to develop productive and efficient writing habits, as well as growth mindsets that can help them overcome writing challenges in their school, career, and personal lives.

Lesson #2: Writing instruction is most impactful when it extends through professional learning communities (PLC) that offer students school-wide support for writing

As students move from grade to grade, a strong and coordinated PLC can help them build on what they already know about writing and focus on becoming even more expressive and effective writers.

In my first year of teaching, a colleague and I had an opportunity to attend a professional learning summit on writing. One session led by Harry Noden taught us how his Image Grammar could help students expand, vary, and improve their sentence structures. The majority of our student population was multilingual learners, and we rightly suspected that focused practice on writing, even at the sentence level, could increase language development in English . In part, this is because writing has a slower pace, provides a permanent record, and calls for greater precision in word choice.

We accurately assumed that sentence writing would benefit all our students , too. And once we were satisfied with the results, we leveraged our PLC to encourage a school-wide adoption of teaching grammar with Noden’s “brushstrokes.” We saw students quickly embrace the concept of “brushstrokes” because it positioned them as “artists” painting with words. This artistry was reinforced by the quality of their sentence writing. Often shared aloud, these sentences could be chill inducing they were so beautiful. For many students, this was their first proof they could be excellent writers, once they learned how.

Lesson #3: Writing outcomes can be improved through the use of common assessments and common rubrics at the school, district, or even state level

Common assessments and common rubrics help educators develop a shared understanding of how to evaluate writing. This includes providing students with meaningful feedback and grading writing more consistently across a school, district, or even state.

Coordination among teachers can help establish a school-wide writing community that all students can tap into for peer review. It can also lead to greater consistency in writing instruction and evaluation. Such consistency builds trust between students and teachers, which in turn can strengthen students’ view of themselves as learners and increase their motivation to learn .

When students don’t have to figure out individual teacher preferences for writing—and they feel confident every teacher will grade their writing for substance not style—they can focus their mental energy on becoming better writers. This includes developing their own sense of how to use language(s) effectively for personal, academic, and civic purposes.

One way to foster student-teacher collaboration is to encourage students to enter writing contests . Student writing contests can range from local to national, and it’s worth some extra effort to find ones that are a good fit for your students. Once my journalism students began entering (and winning!) writing contests, these events became an annual tradition. My students also became more willing to work on their digital portfolios throughout the year.

At the district level, common assessments and common rubrics can help leaders identify schools that need more support, such as more professional learning for educators or more high-dosage tutoring for students . They can also identify schools that have model instruction and can serve as resources for others. If you’re looking for a place to start in your district, the Literacy Design Collaborative offers common analytic rubrics for several writing genres , and the New York Performance Standards Consortium provides a robust set of performance-based assessments and rubrics .

Districts that use state rubrics in their common writing assessments help ensure all educators have similar expectations of student writing. If your state assesses writing, check the state department of education website for newly released writing assessments and their accompanying rubrics. And if your state doesn’t assess writing, they may still offer writing materials for teachers to use.

Finally, NWEA is often asked about the connection between MAP® Growth™ and writing. MAP Growth does not include writing prompts, so it can’t take the place of high-quality formative assessment in the classroom ; it simply wasn’t designed to assess students’ writing. But MAP Growth can provide insights into students’ strengths and opportunities for growth, and these insights are especially helpful when educators use an integrated approach to reading and writing instruction.

The MAP Growth instructional areas for reading, for example, offer some information about how well students understand literary text, informational text, and vocabulary. Students who are performing below grade-level for vocabulary would likely benefit from more explicit vocabulary instruction, including more strategic exposure to roots and affixes. This expanded vocabulary knowledge can later be applied to students’ writing. One approach is to have students “speak in synonyms,” a kind of oral rehearsal that can be done with peers or small groups and then integrated into a piece of student writing. Meanwhile, students who struggle to comprehend informational text might benefit from a self-regulated strategy development (SRSD) approach to writing . This method teaches students to recognize, internalize, and utilize important genre features in writing. And since reading and writing are related, SRSD can help improve students’ comprehension of informational texts, too.

A recap of lessons learned

Writing is hard, and teaching writing may be harder still. As educators, we continually learn new lessons about how to help our students (and ourselves) become better writers. I hope the three lessons I’ve shared here are helpful to you and bring you closer to having every student see themselves as a capable writer or, better yet, an artist painting with words.

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How Teachers Benefit From Writing

Writing in private or for an audience can deepen reflection and empathy for students. Plus: websites that accept submissions.

A teacher using her laptop and a notebook to write

When I started writing a blog, I felt like an imposter. It was as if I was pretending to be a “writer.” When I hit the publish button on my first post, I was sure that some sort of writing police were going to burst through my webpage with red pens clutched in their hands. “You’re not a writer!” they’d bellow. And I would have agreed—I did not feel like a writer.

But as a teacher, I was a writer. In fact, I was writing every day. All teachers are writers—we write emails, lesson plans, newsletters, assignments, and so much more.

We may not often think about it, but there are many benefits of writing for ourselves and for an audience, and there are many venues for publishing our work. The first step to accessing all these benefits is to accept a simple truth: We’re already writers.

Writing Reflectively Helps Us Grow

Writing reflectively is a quick but impactful way to improve both our professional and personal lives. We can process successes and plan improvements after failures when we document our days.

In his book Learning by Doing , Oxford professor Graham Gibbs suggests that writing reflectively can be extremely helpful for cognitive growth. When we write about questions like “What went well today? What could have gone better? How will I change my actions in the future?” we improve ourselves.

Keeping a journal is one of the easiest ways to access the benefits of reflective writing. Challenge yourself to achieve a reasonable writing goal each day at a time that consistently fits your schedule best. My life is generally calmest in the evenings, so I try to write for 10 minutes before bed.

Writing Helps Us Empathize

Writing can help us become better writing teachers. We’re able to empathize with our students’ positive and negative experiences as writers when we write ourselves.

The goal is just to write—not necessarily to write well. Writing is hard for everyone; writing well is near impossible. But that’s the beauty of writing—that intense feeling of struggle when we’re putting pen to paper, or fingertips to keyboard, is not exclusive to teachers. Our students feel it, too. And being able to have authentic conversations with students about the hardships of writing creates a more supportive writing culture in the classroom.

Each year, I have my students write short stories following the structure of the Heroic Journey, and I write alongside them. One time, my hero was a stressed mother and her journey was taking her three kids to Taco Bell. It was a valiant tale of love, loss, and quesadillas, but it wasn’t going to win any awards. But in part because we shared the writing experience, my students and I had productive conversations about our writing processes.

Writing Helps You Spread Your Voice

Writing is a cost-effective way to share our ideas, and there are many opportunities for educators to have their voices heard.

Writing About Education-Related Topics

Edutopia: Your Turn: Write for Us
WeAreTeachers: Write for WeAreTeachers
Education Week: Submission Guidelines
The Current: Share With Us!
Teachers and Writers Magazine: Submission Guidelines
Corwin Connect: Write for Corwin Connect!
EdCircuit: Become an EdCircuit Contributor

You can also inquire about writing opportunities with the educational organizations you’re part of. The National Council of Teachers of English, for example, has a blog that accepts proposals from guest authors.

Writing About Non-Education-Related Topics

Glimmer Train: Submit Your Story
59 Review: Submission Guidelines
Huffington Post: How to Pitch to HuffPost Opinion and HuffPost Personal
BuzzFeed Reader: How to Pitch Essays to BuzzFeed Reader
Medium: Sign Up to Write for Medium

You could also start your own blog using free platforms like Weebly , Wordpress , Wix , or Blogger .

The practice of writing consistently has made an incredible difference in my life. Embracing the identity of a writer has made me a more reflective and empathetic teacher.

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Chapel Hill-Chauncy Hall School Blog: Take Charge

The power of creativity in 21st century learning.

Rapid change, complexity, and social divisiveness mark the world today. How will we survive tomorrow? Will we be able to sustain the human values that we cherish - kindness, courage, empathy? What is the role of schools in this moment? Educational leaders are faced with a central dilemma; how and what do you teach in the context of continuing change, with facts and ideas that become obsolete in the moment, and careers and work areas that have not yet been imagined? And how does a school like CH-CH respond to these challenges?

A little recent background provides some perspective. Early in the 21st century, STEM domains were recognized as drivers of change; Science, Technology, Engineering, Mathematics. A group of leaders from higher education, business and industry, the Partnership for 21st Century Skills met to wrestle these questions. They aimed to identify the attributes needed for success in the world of the mid 21st century. Their work stimulated a broad redesign of educational goals and practices, with a new emphasis on 21st century skills. P21 explicitly linked successful learning outcomes with innovation , or the creation of new ideas and novel approaches. Creativity emerged as a core concept.

“ Learning and innovation skills increasingly are being recognized as those that separate students who are prepared for a more and more complex life and work environments in the 21st century, and those who are not. A focus on creativity, critical thinking, communication and collaboration is essential to prepare students for the future. ” (P21)

Grant Wiggins provided further direction with the concept of Understanding by Design and the phrase “begin with the end in mind”. P21 goals are the “end in mind” for effective education today. But how do we get there? What tools and practices do we need? When creativity and innovation emerged as part of the essential toolbox of learning, STEAM (with A= Arts) largely supplanted STEM as the acronym that captures progressive educational practices. But “creativity” and “the Arts” are not synonyms. Arts disciplines certainly form a natural home base for creativity, and STEAM and P21 rightly highlighted the essential role of arts education in promoting creative thinking and practices. So what exactly is creativity?

Creativity is a defining psychological factor of what it means to be human. Change is part of the natural flow of life and humans have a unique ability to thrive in conditions of change. Change requires new behaviors, new ways of perceiving and thinking, novel approaches, innovation, creativity. We perceive the world actively through our senses, creating meaning and adapting to its demands in novel and inventive ways. This inventiveness can be seen throughout human history in the creation of new technologies, in the forging of new social and communicative constructs, and in the building of aesthetic forms that bring us together in communities. In individual and collective experiences, creativity is the center that holds everything else together. And in learning, creativity is a thread that connects with, interacts with and supports all other elements of learning. We create meaning when we think. We create connection when we use language. In his ground-breaking classic work “Flow; The Psychology of Optimal Experience” (1988), psychologist Mihaly Csikszentmihalyi lays out the argument for a new understanding of the relationships between optimal states of experience, learning, high-level performance, productivity and happiness, individual and societal. Creativity is at the core of this web of related psychological states.

Today, a new vision of arts and creativity is emerging. Disciplined work habits, learnable skills, perseverance, practice, resilience and collaboration have become equal partners with more traditional ideas of arts education such as talent, uniqueness, vision and spontaneity. P21 was adamant that good educational programs should push all students towards high levels of mastery. Creativity and the Arts are no longer just for the talented few. All students can and must develop skills and understandings in these areas if they are to be successful in the 21st century. Creative thinking, creative habits of mind, creative expressions, creative problem solving, creative collaborations and relationships – all can be acquired, practiced, refined, learned. In successful schools of today and tomorrow, the goal of a vibrant education in the arts is to prepare students for all kinds of work, life experiences, and social challenges, not “simply” for a career in an arts-related area. The creative mind is one that is prepared for the future, in all its challenging dimensions.

The impact of creativity is magnified immensely when it emerges from its natural home in the Arts and takes off into new territories. Every domain of schooling – academics, athletics and activities, social and personal life – is empowered by the pathways and opportunities of creativity. Gone is the idea that “the Arts” is an add-on, with less inherent value than other disciplines. Instead, the Arts emerge as the leading edge, imbuing other domains with a spirited creative sensibility.

A serious commitment to creativity is needed. Other 21st century skills, such as critical thinking and communication, have long been at the heart of educational programming. But creativity? Not so much. Professional support must be available, so that teachers can model creative thinking and practices, and schools can purposefully develop curricular goals that support creativity. Once this happens, the development of skills and habits of creative thinking, perception and expression will have a powerful impact on the professional, personal and community lives of generations to come.

These are difficult challenges for many schools. But schools built around educational philosophies that recognize individual differences in learning, such as Multiple Intelligences and Differentiated Instruction are better prepared to respond to these challenges and provide contexts in which creativity and innovation can flourish. Schools in which Social and Emotional Learning are understood, such as in the Making Caring Common initiative, also provide fertile ground for creativity. The nurturing of creativity requires unique pathways to learning, an understanding that one size does not fit all, encouragement of experimentation, multiple “answers” and diverse approaches, support for learning from mistakes, comfort with ambiguity, a zest for discovery and innovation, and a strong and resilient work ethic. Even seemingly routine practices such as the way schools assess and record progress in student learning make a difference; systems of number or letter grades alone cannot capture the complexity of creativity in learning. Schools that have the courage to address these issues – as in the Mastery Transcript movement - are ahead of the curve in this respect.

CH-CH finds itself in this moment in a position of strength. The values and goals that it has promoted since its early days, joined with a contemporary understanding of teaching and learning, position the school well to be a leader in creativity education . Multiple Intelligences (MI) and Differentiated Instruction (DI) form the backbone of the school’s instructional practices and the social-emotional context of learning is given high priority. Alternative methods of assessment and grading which support individual learning pathways while continuing to emphasize mastery and high standards are being examined. These existing elements are being galvanized with new energy by the school’s Campaign for Creativity and by the excitement created by the Re-Imagined Barn project. For CH-CH students and for young people everywhere, our hope is that nurturing their creativity today will help them respond to the unimaginable challenges of tomorrow’s world; a world in which kindness, courage and empathy will survive because of them, and a world in which creative minds will build success, happiness, and peaceful and prosperous communities.

About the author:

Dr. Margaret Allen has had a long career in teaching, academic administration and instructional design at the college and secondary school levels. She has a PhD in Linguistics and Psychology, and an MEd in Instructional Design. In the 1980's and 90's, she was Academic Dean at CH-CH and established several key initiatives, including the Senior Presentation program, which continues at the school today. She is married to Richard Allen, former Head of the Art Department at CH-CH and a practicing studio artist. As Academic Dean at Tilton School in NH in the early 2000s, Dr. Allen led the way in developing programs such as the Senior Research program and used the framework of Understanding by Design and the findings of the Partnership for 21st Century Skills to revise the curriculum and the grading system. She has conducted research and written extensively on curricular matters. After her retirement from Tilton School in 2014, Dr. Allen returned to CH-CH to become a member of the Board of Trustees.

Topics: Multiple Intelligences , Chapel Hill-Chauncy Hall , Student Skill Building , Building Creativity

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New Directions in Technology for Writing Instruction pp 233–257 Cite as

Academic Writing Instruction Beyond the Classroom Walls: New Possibilities and Implications for English Language Teachers and Learners

İlknur Yüksel 21 ,
Banu Çiçek Başaran Uysal 21 ,
Emine Eren Gezen 21 &
Ümit Özkanal 21
First Online: 02 January 2023

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Part of the book series: English Language Education ((ELED,volume 30))

Owing to ever-changing technological advances, the landscape of language education has been reformed significantly. The aim of the chapter is to provide theoretical and practical guidance for teachers and candidate teachers about how to integrate technology to academic writing instruction during online courses. In this chapter, a new generation of digital approaches to academic writing instruction would be discussed reviewing the related literature and then the instructional offers would be presented with available effective digital writing tools and task samples. The content of the chapter includes three subsections: (1), the theoretical discussion on academic writing and technology integration referring to digital writing and multimodal practices, (2), the practical implementations of the tools and tasks within the framework of Critical Reading and Writing course, and (3) evaluation and discussion on future research and practices. Available innovative online tools would be exemplified referring to the stages and processes of writing lesson; for example, Lucidspark for brainstorming, Padlet, Cube Creator, Zoho Writer for collaborative interactive writing and Adobe Spark, Pixton for adding visuals. Furthermore, implemented task samples using these tools and additional ideas for classroom practices are presented within the scope of the chapter.

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Eskişehir Osmangazi University, Eskişehir, Turkey

İlknur Yüksel, Banu Çiçek Başaran Uysal, Emine Eren Gezen & Ümit Özkanal

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Gazi University, Ankara, Turkey

Gonca Yangın-Ekşi

Abant Izzet Baysal University, Bolu, Turkey

Sedat Akayoglu

South Campus, Community College of Allegheny County, West Mifflin, PA, USA

Leonora Anyango

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Yüksel, İ., Başaran Uysal, B.Ç., Eren Gezen, E., Özkanal, Ü. (2022). Academic Writing Instruction Beyond the Classroom Walls: New Possibilities and Implications for English Language Teachers and Learners. In: Yangın-Ekşi, G., Akayoglu, S., Anyango, L. (eds) New Directions in Technology for Writing Instruction. English Language Education, vol 30. Springer, Cham. https://doi.org/10.1007/978-3-031-13540-8_12

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Published : 02 January 2023

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Teaching Creative Writing in Covid Times

The challenges and opportunities for deeper care and connection with students during the pandemic and virtual learning.

I sometimes worry that the more existential a subject is, the less essential it is considered. But it is through creative writing that we can convince our students that wrestling – with language and ideas, with purpose and meaning – is the most essential thing of all.

Last March, my family and I were listening to the news when we heard that Florida had designated pro-wrestling as an essential business. My six-year-old pumped her fists in the air, thrilled to see her love of roughhousing finally being validated, but my nine-year-old looked troubled.

Why would anyone consider wrestling to be existential? she asked.

My daughter had meant to say, essential , of course, but her mistake got me thinking about the link between essential and existential, particularly in the context of my work as an English teacher who was struggling to figure out how to engage students through remote learning.

I teach creative writing classes at a public high school outside of Boston. I’m not sure if most people consider creative writing to be essential, but it’s certainly existential work. What are your characters’ underlying motivations? my students regularly ask each other. What are their biggest doubts?

But “teaching” creative writing remotely was challenging. I missed the energy and chaos of the classroom. I missed the messiness of guiding kids through the creative process. Like many schools, we shifted to a pass/fail model last spring. It was hard to motivate students to take the time to put the best words in the best order when, in the words of a colleague, a D- was worth the same as an A-.

And yet my students continued to inspire me.

During one unit, I asked one of my classes to write a short story in an alternative form – a police report, for example, or email exchange – and one of my seniors turned in a piece told entirely through Minecraft dialogue.

In the piece the characters go by their screen names: Dufus, Lemonsquares, Potatosackpoopy. They are all teenage boys, trying to navigate the challenges of self-isolation by playing video games together, which offers them a chance to connect but also reveals some stunning disconnects. At one point, a character named Yomama420 suffers multiple deaths in the game:

yomama420 was eaten by a zombie

yomama420 was struck by lightning

yomama420 was trampled to death by frightened shoppers struggling for last roll of charmin

And then, we see his friends’ reactions:

<clampgod9> LMAO didn’t know that last one could happen

<jayzseancarterbeyonce4ever> dire times call for dire measures haha

<yomama420> actually guys gotta head to store for tp.. mom’s struggling currently lol

In my student’s reflection on the story, he wrote:

“I really like to look at the coronavirus numbers, be it the Johns Hopkins database or worldometer.com, and I think that’s because it’s innately satisfying for people to attempt to represent such an emotional tragedy that’s unimaginable in scale numerically and with graphs which to me and I imagine to many other people is much easier to digest. It removes names and to some extent the weight of each individual death, softening the blow of each of the 200,000 deaths for my consumption. The way Minecraft conveys death seems similar to me.”

I wanted to both laugh and cry when I read this, stunned by how my student had channeled the surreal disjunction that we were all feeling into art.

Under normal conditions, school can feel like a game. Despite all of the research showing that extrinsic motivation kills creativity, we rely systematically on extrinsic motivators. Too often, students don’t think of grades as an essential aspect of feedback but as a currency to trade in for college acceptances. We spend way too much time preparing kids for tests that don’t assess meaningful skills but measurable ones.

As much as “teaching” during the pandemic has felt challenging, I do think that it’s reminded me of the importance of prioritizing teacher-student relationships. I have always been lucky to have supervisors who’ve stressed “relationship before task” but that sentiment has never felt more relevant. Last spring, I began every email to my students with the reminder that their health is the most important thing right now. They ended their emails to me: I hope you and your family are safe .

As we return to the classroom this year, I hope that we continue to relate to one another with such humanity and care. That, of course, begins with me. I need to remember to ask myself every time I create an assignment: Will my students be intrinsically motivated to work on this? Will it offer them the chance to explore the world in profound ways?

More often than not, it’s in my creative writing classes where I feel that I am most able to offer those kinds of assignments.

Ben Berman began his teaching career as a Peace Corps Volunteer in Zimbabwe. He then spent eight years teaching in the Boston schools and has spent the past eight years at Brookline High School in Massachusetts, where he teaches creative writing and helps run the Capstone program. His first book, Strange Borderlands , (Able Muse Press, 2013) won the Peace Corps Award for Best Book of Poetry, was a finalist for the Massachusetts Book Awards, and received a starred review from Publishers Weekly . His new collection, Figuring in the Figure , is recently out from Able Muse Press. Berman is the poetry editor at Solstice Literary Magazine and lives in the Boston area with his wife and daughters.

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